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The Study of Ivanhoe 



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Library of Congress. 



UNITED STATES OF AMERICA. 



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SEP 18 1900 



The Study of Ivanhoe, 

BY 

H. A. DAVIDSON. 

Topics and References 

Arranged for 

Teachers, Classes, and Literary Circles. 






80176 

Copj^rigM 1900, by 
MRS. H. A. DAVIDSON, 



49136 

I.ibP«ry of Congress 

''WO Copies Received 
SEP 18 1300 

Copyright entry 

sa:oNr> copy. 

Ut'ivfcfarf to 

Ot^GtK DIVISION, 

SEP 24 1900 



No. I, Sprague Place, 
Albany, N. Y. 

Author of "The Study of Romola," "The Study of Henry Esmond," "The 

Study of Silas Marner," in Houghton, Mifflin & Company's Riverside 

edition. "Reference History of the United States," Ginn 

and Company, etc. 



Topics and References for the Study of 
Ivanhoe. 

REFERENCES. 
Books which should be owned. 

A copy of Ivanhoe which contains the complete text, Scott's 
introductions and notes. 

A Life of Walter Scott. 

A bound note-book. 

The Crusades, by G. W. Cox, Epoch Series. 

A map of England and Scotland. 

Note. — Several editions of Ivanhoe prepared for school use 
are incomplete and the parts omitted are essential in a critical 
study of the romance. Macmillan's Dryburgh edition is com- 
plete and contains Scott's introductions. Houghton, Mifflin 
and Company's Riverside edition is complete and contains a 
map of the Ivanhoe country. 

Books which should be found in school libraries. 

Scott's Life. 

Walter Scott, by G. Saintsbury, Famous Scott Series. 

Sir Walter Scott, by R. H. Hutton, English Men of Letters. 

Life of Sir Walter Scott, by C. D. Yonge, Great Writer 

Series (contains Anderson's bibliography). 
Memoir of the Early Life of Sir Walter Scott, written by 

himself. Found in volume i. of Lockhart's Life of 

Walter Scott. 
Life of Walter Scott, by John Gibson Lockhart. 
Homes and Haunts of the British Poets, vol. ii., by William 

Howitt. 
Miscellanies : Abbotsford, by Geoffry Crayon (W. Irving). 



The Journal of Sir Walter Scott, edited by David Douglas. 
(Includes only the years 1825-32). 

Familiar Letters of Sir Walter Scott. 

Unpublished Letters of Scott ; in, Selections from the Manu- 
scripts of Lady Louisa Stewart. 

The Lands of Scott, by J. F. Hunnewell. 

The Waverley Dictionary, by May Rogers. 

Mrs. Oliphant's Literary History of England, vol. ii., 
especially chapter iii. 

Development of the English Novel, by W. L. Cross, espec- 
ially chapter iv. 

An Essay on Romance, by Sir Walter Scott, in Prose Works, 
vol. vi. 

Homes and Haunts of Sir Walter Scott, by G. G. Napier. 

A set of The Waverley Novels. 

Scott's first fiction ; The Writing of Ivanhoe. 
Lockhart's Life, vol. v., 292-7. 
Familiar Letters of Scott, vol. ii., year 1818. 
Lockhart's Life, vol. ii., 17-20; vol. v., 216-17, 292-7, 

chap. 53; vol. viii., 141-2, 271. 
Walter Scott at Work, Chamber's Journal, vol. 46, p. 741. 
Descriptive Catalogue of the Writings of Sir Walter Scott, 

by John Thomson. 

Note. — This Catalogue is published as a bulletin by The 
Free Library of Philadelphia. It contains much rare and valu- 
able information about the novels of Sir Walter Scott. 

The Age of Richard Coeur de Lion : 

The Crusades, by G. W. Cox, Epoch Series. 

The Crusades, by T. A. Archer; series. The Story of the 

Nations. 
The Early Plantaganets, by William Stubbs, Epoch Series. 
The Normans in Europe, by A. H. Johnson, Epoch Series. 



The Crusade of Richard I., edited by T. A. Archer; series, 
English History by Contemporary Writers. 

The Jews of Angevin England, edited by Joseph Jacobs, 
same series. 

Knight's History of England, vol. i., Chapters 21, 22. 

Bright' s History of England, vol. i., Chapter, Richard I. 

Teachers and special students may also consult History of 
England in the Middle Ages, by C. H. Pearson, vol. i., 
Chapter xxxii., and Stubb's Constitutional History of 
England, vol. i., 433-553- 

These books are especially valuable on such points as Rich- 
ard's means of raising money, The Jews in England, 
Richard's ransom, etc. 

Social England, by H. D. Traill. 
Norman Methods of Warfare, vol. i., p. 229. 
Social Ivife and Manners, vol. i., p. 371. 
Richard and John, vol. i., p. 262. 

A History of the Art of War, by C. Oman. 
The Knight, Book vi.. Chap, ii., A.; Fortifications; Siege- 
craft, etc.. Chap. viii. 

Hallam's Middle Ages, vol. iv., chap, ix., part ii., topic, 

Chivalry. 
Scott's Essay on Chivalry, in Prose Works, vol. vi. 
The topics, Military Orders, Knightly Training, Arms, 

Armour, and Armaments, will be found in The Crusades, 

by T. A. Archer. 
A History of Chivalry, by C. Mills, vol. i., chapters ii., 

iii., vi., vii. 

Note. — This history was published at about the date of 
Ivanhoe and perhaps represents the knowledge current then on 
this subject. 

History of the Crusades, by J. F. Michaud, three volumes. 



Antiquities, Castles, Costumes, etc. 

History and Antiquities of Doncaster, edited by K. Miller. 

Contains picture, plan, and description of Coningsburgh 

Castle. 
The History of Conisborough Castle with Glimpses of 

Ivanhoe Land. Compiled by H. B. Smith — London, 1887. 

Plan of Castle, p. 89, pictures, description, etc. 

Map of Ivanhoe Land, p. 121. 
The Dress and Habits of the People of England, by Joseph 

Strutt. 

Vol. ii.. Part ii.. Of Saxons before 1066 A. D. 

" ** Part iii.. Of Saxons from 1066 to 1200 A. D. 

" " Part iv., Of Anglo-Normans. 

" *' Part ii., chapter v., Funeral Customs; also 

plate XX ix. 
Sports and Pastimes, by Joseph Strutt. 

Archery, Book ii.. Chapter i. 

Tilting, Tournaments, Justs, Book iii.. Plates xii-xv. 
Domestic Manners and Sentiments, by T. Wright. 

An Anglo-Saxon Mansion, plate No. 12. 

An Ancient Manor-House, plate No. 85. 

Early English Houses, chapters vii., viii. 

The Anglo-Norman Period, chapter v. 
Castles of England, their Story and Structure, by Sir Jas. 

D. Mackenzie; fine illustrations of the typical features 

of castles may be found in these volumes. 

Robin Hood Stories and Ballads : 

Poems, Songs, and Ballads, edited by Joseph Ritson. Re- 
published with illustrations and an introduction in 1884, 
by George Routledge and Sou. 

Contains: A True Tale of Robin Hood, Part i., Ballad v.; 
Robin Hood's Birth, Breeding, etc., Part ii.. Ballad i. ; 



Robin Hood and the Curtal Fryer, Part ii., Ballad x. ; 

Robin Hood and Allan-a-Dale, Part ii., Ballad viii. 
Specimens of Pre-Shakesperian Drama, by J. M. Manley, 

Athenaeum Press Series. Contains three Robin Hood 

Plays : Robin Hood and the Knight, Robin Hood and the 

PVier, Robin Hood and the Potter. 
Early Popular Poetry, edited by W. Carew Hazlitt, vol. i., 

contains. The Kyng and the Hermyt. 
IvCtters on Demonology and Witchcraft, by Walter Scott. 

Published in Morley's Universal Library. 

Supplementary Reading: 

Harold, the Last of the Saxon Kings, by Bulwer. 
Hereward the Wake, by C. Kingsley. 

The Foresters, Robin Hood, and Maid Marian, by Alfred 
Tennyson. 

Life of Richard Coeur de Lion, by G. P. R. James. 
Autobiography of Scott. 
Shakespere's King John. 
Talisman, by Walter Scott. 

Criticism. 

References for the study of the criticism of Ivanhoe are not 
included here. The reading of criticism should be deferred 
until the close of the study of the novel. Students are ear- 
nestly requested not to read criticisms of Walter Scott as an 
author, or of Ivanhoe, until they have become thoroughly familiar 
with the novel, and through the novel, with certain qualities 
and characteristics of the author. Critical opinions will then 
serve their true purpose, that of suggesting to one student the 
conclusions of another with which he may compare his own. 
The reading of criticisms upon literature of which one is igno- 
rant is much like reading a guide-book in place of visiting a 
foreign land. Adapted from The Study of Henry Esmond. 



Note-Book Topics for Students. 

Preliminary : 

I. List of the Norman Kings of England, with dates of 
reigns. 
II, Geneological Table of the Norman Kings from William 
I. to John, showing relationship. 
III. List of Scott's novels in the order of publication. 
IV. List of Scott's novels in the order of the historical events 
which form the subjects, with dates showing the 
period or century. 
V. Chronology of the Composition of Ivanhoe. 
VI. A list of the chief Crusades, with dates, and names of 
leaders. 
VII. Historical chart showing, for the reigns of Richard and 
John: 

a. The Rulers in France, Austria, Germany, England. 
h. The Pope, at that time. 

For work tliroughout the course : 

VIII. Chronology of the novel, Ivanhoe. 
IX. List of characters in Ivanhoe. 

Enter the name, at its first appearance, in the note- 
book, and star all historical characters. 

Characteristics of the Century: 

X. Mark in the Ivanhoe and keep a list of headings, refer- 
ences, etc. 

Whatever in dwellings, customs, class distinctions, 
beliefs, etc. marks that period as different from later 
centuries belongs here. 



History in Ivanhoe: 

XI. A list of historical incidents, etc., employed by Scott, 

with references to histories which are authorities for 

the fact or event. 

Any departure from historical accuracy, either in fact 

or in the presentation of character, should be noted here. 

Plot outlines : 

XII. Those events or facts belong in a plot outline which 
deter^nine subsequent events. They give, in outline, the 
effective presentation of the theme and lead inevitably 
to the climax and conclusion. It is necessary, always, to 
distinguish carefully between such events or facts as 
have determining force, and those incidents which are 
illustrative, or contribute to character building. 

The beginner who is uncertain whether an incident 
forms part of the plot outline or is only descriptive and 
illustrative may inquire whether anything results that 
would have happened differently had this incident been 
changed. Let him remember that in each chapter all 
the facts or incidents really essential to the progress of 
the story belong in the plot outline, and no others. An 
outline of the plot elements found in chapter v. is 
given in the directions for note -book work. This will 
illustrate both a convenient method of making such 
outlines, and the selection of essential points. Notice 
the reason for the selection of each point given — that 
it is, in a vital sense, the explanation, or cause of some- 
thing that happens thereafter. 

Special character study : 

XIII. Choose one of the characters in Ivanhoe for special 
study. Mark in your copy of Ivanhoe every item of the 



analysis, description, and development of the character 
chosen, and^inquire about, 

a. Appearance and peculiarities as an individual. 

d. The particulars in which the character represents, 
typically, life in the 12th century. 

c. Moral qualities. 

d. Intellectual qualities. 

e. Influence of persons and circumstances upon the 
character. 

y. Influence of the character upon persons and events. 

^. Weaknesses. 

h. Strength. 

i. Purpose of the character in the development of 

the plot. 
J. How does Scott present the character ? 
k. If other novels have been studied, compare Scott's 
method with that of another writer. 
Note. — For the use of the material collected in the note- 
book in character studies and compositions, see pp. 9, 15, 33, 51. 

For Teachers and Special Students : 

XIV. Sources of incidents, characters, descriptions, etc., in 
the story of Ivanhoe. 

NoTK. — These may be found in Lockhart's Life, in Scott's 
Journal and Letters, in histories and other books. For the 
suggestion of the Jew in Ivanhoe, see Lockhart's Life, vol. v., 
page 295. 

For Norman castles in England, the confiscation of land, 
the means employed by the Normans for maintaining suprem- 
acy over the Saxons, see the works of Green, Freeman, Pearson, 
Stubbs, and other historians. 

XV. Antecedent Material: • 

The beginning of a plot is always found in some inci- 



II 

dent, condition, relationship, which inevitably brings on 
other incidents as a result, thus starting a course of 
conduct, a series of events, which lead to a climax and 
conclusion. In many novels, it is necessary to acquaint 
the reader with incidents belonging to a time preceding 
the opening of the plot. This information is called 
antecedent material and is imparted to the reader by 
various devices, but does not form an integral part of 
the story. 

XVI. Forecasts: 

These are hints about the future course of the story 
found in the earlier part of the narrative. 

XVII. Historical accuracy of incidents, customs, etc. 

This topic is for special students. It involves a com- 
parison of each historical incident, character, etc., with 
the accounts found in the best histories of the period. 
In the case of costumes, customs, etc., it is necessary 
also to inquire whether they properly belong to the period 
in which Scott has placed them. The question of his- 
torical accuracy belongs to the consideration of the 
literary or dramatic qualities of the novel 'only in so far 
as a faithful presentation of life at the end of the 12th 
century was an essential part of the author's purpose. 

XVIII. Characteristics of Walter Scott, the author. 

Put here notes of any peculiarity which seems to you 
to belong to Scott's work or habit of mind, with refer- 
ences to the illustrations that you have found. Do 
not look for such characteristics on the first page, or in 
the first chapter. They are there, but you should be- 
come familiar with an author before you venture to 
pronounce the peculiarity you notice a characteristic. 



If it be such, other illustrations of it will appear as 
you go on. 

DIRECTIONS FOR NOTE-BOOK WORK. 

It is not the intention that each student should include all 
the note-book topics in his study. All the preliminary topics 
should be prepared and placed in the note-book for reference, 
in the beginning. Each one should keep The chfvnology of the 
novel, The list of characters, and the Plot Outlines ; he may 
choose from the other topics according to time and personal 
inclination. Each topic has some direct bearing upon the novel 
as a work of historical fiction. The plot outlines may be 
marked in the text. 

The suggestions given below for the use of note-books in 
the study of the text of the novel or of special topics are de- 
signed especially for members of study clubs, teachers and 
special students. In the secondary school, the pupil's use of 
the note-book may wisely be limited to the collection of data 
on a few clearly-defined topics, to map-drawing, and to his own 
special character study. The principle that note-books should 
contain only data really valuable for reference, arranged and 
indexed in such form as to be accessible without loss of time, 
should be adhered to. 

Members of classes and reading circles should have two 
note-books : one for the orderly arrangement of whatever 
results of study may be worth preserving; the other should 
serve as a tabula erasa, for the making of notes while reading 
or listening to lectures. Probably no student will care to take 
all the note-book topics. Each should select at least two and 
give to them some special attention throughout the study of the 
novel. Each is intended, if faithfully used, to furnish the 
material for some intelligent and critical opinion about the 
novel. 

Note-book work is of three kinds. First, there is the col- 



13 

lection of data about the author aud the particular work 
studied ; this should be done in the beginning. Secondly, there 
is the collection of data upon special topics suitable for investi- 
gation ; such data will serve, later, as a basis of critical inquiry : 
for instance, if the data of the opening scene of the novel are 
entered in the note-book under the heading, "Chronology of 
the story," and each succeeding period of time is noted as the 
reader finds mention of it, he will know, in the end, the length 
of time covered by the dramatic action, how many intervals 
occur, etc. The collection of such data is, of necessity, pre- 
liminary to any critical comparison of different novelists in 
regard to the time covered by their plots. It may be seen that 
the items to be entered under note-book topics iv. to xiv., in- 
clusive, will be found singly and at intervals throughout the 
novel. It is convenient to write each topic at the top of a page, 
with a ruled column at the left for references to the pages of 
the text where items are found. The reader should keep this 
note-book always at hand and enter, in the fewest possible 
words, any item coming under one of his topics. When a page 
is filled, he should refer at the bottom to the nearest page in 
the book which happens to be blank, and at the top of that 
repeat the topic-title, with a reference to the former page. In 
this manner it is easy to use one note-book for many topics, 
without confusion. Thirdly, there is note-book work upon 
the topics of study. Many readers whose mental discipline is 
not such that they habitually organize the results of study will 
find the use of the pen a great aid to definiteness of thought. 
After careful study, it is often profitable to summarize analyti- 
cally the conclusions reached. 

In note-book work, it is a mistake to write full sentences or 
paragraphs. The note-book should contain, in outline, such 
facts, points, or references, as will enable the student to recall 
instantly his proof, his argument, or his conclusions, or analy- 
ses. This does not apply to definitions or critical estimates, 



14 

which cannot be worded with too great care. — Fi^om " The Study 
of Romola.'' 

The following outline of the plot elements in chapter v. of 
Ivanhoe will serve as an illustration of such work. 
Plot elements in chapter V: 

a. Enter Isaac, the Jew. 

b. The Palmer is kind to Isaac. 

c. The name of Ivanhoe ; 

( 1 ) The Palmer avoids it. 

(2) The Templar's anger and scorn at sound of it. 

(3) Rowena's championship of the absent knight. 

(4) Cedric's reluctant endorsement. 

d. Antecedent : 

(i) King Richard's tournament in Palestine. 
(2) The Quarrel between Brian and Ivanhoe. 

e. The Challenge. 

f . The Templar plans, in the hearing of the Palmer, to 
plunder the Jew. 

Each point here is introduced either to explain some evi- 
dent fact, feeling, purpose, or to reveal the cause of something 
that follows. In classes in schools, each student should prepare 
these outlines independently, finding for himself a reason for 
each point selected. The value of this work lies in the exercise 
of the judgment and in the cultivation of an ability to perceive 
literary qualities, not in the results obtained. 
THE USE OF THE TEXT. 

It is desirable to use a copy of the text not too valuable for 
marking. It is often convenient to note a series of facts by 
marginal references, or words, such as, "Theme," "Plot," etc., 
and it facilitates later study of the characters to write the ini- 
tial letter of the name of each leading character in the margin 
whenever any description, analysis, or other indication of per- 
sonality, occurs. It will then be possible to trace a given char- 
acter through the narrative without re-reading. 



15 

THE DIVISION INTO SECTIONS. 

The topics for study are divided into sections with reference 
to the natural grouping of incidents in the structure of the 
romance. For high school classes, each section ^should be sub- 
divided two or three times, according to the maturity of the 
pupil and the time at disposal. 

COMPOSITION WORK IN CONNECTION WITH THE 
STUDY OF IVANHOE. 

In the study of a work of fiction, pupils should gain at 
each step new ideas of the purpose and plan of the author in 
the particular work read, of his characteristics as a novelist, of 
the art of fiction. The vocabulary of exact critical expression 
is difiicult and ideas that the young student clearly perceives 
under the stimulation of the instructor's presentation soon be- 
come indefinite through his inability to express them indepen- 
dently. It is therefore important that written tasks should be 
associated constantly with the reading and study. The subjects 
suggested or assigned should seldom involve the reproduction 
of what Scott has told the reader in the author's own form and 
arrangement. Young readers have remarkable facility in 
remembering phraseology and will give a brief repetition of 
incidents or descriptions with little mental effort or profit. 
Essay topics should be so selected and guided as to develop {a) 
the imagination of the pupil ; (<^) his perception of the artistic 
plan and method of the author; (<:) his power of gaining from 
a text numerous details of fact or opinion and of organizing 
them in a new way in support of a thesis of his own. 

At the close of this volume will be found a list of subjects 
for work in composition, on one of the sections given for study ; 
they are intended merely as suggestions. It would be extremely 
unwise to repeat the same topics with succeeding classes. An 
inventive teacher will be able to devise similar topics in endless 
variety. 



i6 
AIMS AND METHODS OF INSTRUCTION. 

In the study of Ivanhoe, four subjects are of commanding 
importance : plot-structure, character-study, the use of incident 
to further the plot, and the setting or historical background. 
The most difficult of these is the historical element, since it 
involves an appreciation of those subtle differences in manner 
of life and thought, ethical ideas, culture, and degree of civili- 
zation, that measure the distance between the nineteenth cen- 
tury and the twelfth. The youth is fond of romantic tales but 
he is unable to escape his personal experience or the environ- 
ment of his own life. He transfers the incidents of the story 
that he reads to the present ; he pictures himself and his com- 
rades in the greenwood, or riding the lists, and thus fails to 
broaden his knowledge of men and of lands. By constant com- 
parison, by many device^^e teacher must aid him in gaining 
an imaginative realizatidft~bf the life and thought of the men of 
another age. He must learn that different times bring forth 
different sorts of men, whose beliefs and morals are shaped 
according to the light of their own day; thus he must judge 
them, rather than by standards of the present. 

In teaching a work of fiction, it is most helpful to follow 
the plan of the author. He had a purpose in telling the tale. 
The place and time of its opening were chosen carefully and the 
precise order in which his characters should appear was most 
exactly determined upon with reference to the plot. The 
scenes of the novel were to its author a mimic stage and all the 
world of readers an audience for which he should act as scene- 
shifter, manager, and interpreter. It is fair, therefore, to seek 
his plan and question his purpose, step by step, as he interests 
us more deeply in the fortunes of Ivanhoe, Locksley, Rebecca, 
Cedric, and the Jew, persons who will be numbered among our 
familiar friends long after we have forgotten the school-fellows 
who pored with us over the page. 

First, then, interest the student in the general question of 



17 

the number of characters required by an author in the creation 
of his book-world. How many characters in "Tom Brown's 
School Days", or in Miss Alcott's "lyittle Women" ? How many 
did Scott introduce in " The I^ady of the Lake" ? in ** The Talis- 
man" ? Let each student begin at once to keep a list of all 
characters that appear in the story of Ivanhoe. Discuss the 
question of how to determine, in doubtful cases, whether the 
character mentioned should be included in the list or not. A 
study of indications in regard to the importance and connection 
of characters in the future story will prove interesting and 
fruitful. The student should regard characters at their first 
introduction as strangers, recently met. He may come to feel 
the same eager interest in the past life, the same desire to esti- 
mate traits of character and personality, as in the real world. 

In many novels, a certain number of chapters in the begin- 
ning are devoted to familiarizing the reader with the conditions 
under which the action takes place, to the introduction of 
characters that bear prominent parts, to any antecedent facts 
essential to an understanding of the narrative ; the beginning, or 
starting point, of the action is usually given also in connection 
with this initial and necessary information. The natural point 
of division in assigning the first section for study is always at 
the close of these introductory chapters. 

In Ivanhoe, the first natural division includes chapters i-vi. 
The study should be directed to the main purposes of the 
author. Let us discuss in some detail the work that a class in 
the high school should do in this first section. First, inquire 
where, geographically, and when, historically, the story opens. 
From the very beginning, accustom the pupil to the use of the 
map as if he were following the route of an army ; require him 
to present proof of each statement that he makes, with exact 
references to his authorities or to the facts on which he bases 
his inference. 

Secondly, ask where in these chapters the real beginning 



i8 

of the story is found. This does not mean merely the opening 
scene, but the incident, condition, or whatever it maybe, which, 
as cause, leads to something else that otherwise would not have 
occurred. This will lead to a discussion of the question 
whether the opening scene introducing Gurth and Wamba con- 
tains the real starting point of the action. If not, there must 
have been other reasons in Scott's mind for opening his story 
thus. If the true beginning is found in this scene, then it must 
be shown that to change it essentially would change the course 
of the story that follows. The student should also note all in- 
formation given about persons or events before the beginning of 
the story, and should try to account for its introduction. Why 
are we told of a wager that had been laid between Prior Aymer 
and the Templar ? Why is the quarrel between Cedric and his 
absent son hinted at? What occasioned it? 

After the beginning of the action has been found and the 
relation to it of all antecedent material has been discussed, there 
should be made an outline of every incident, fact, or condition, 
which advances the plot to the close of chapter vi. This should 
consist of a statement, in sequence, of every step essential to 
the plot as far as it proceeds in these opening chapters. All 
incidents, descriptions, etc., not essential to the plot, should be 
discussed to find the reasons for their introduction ; these may 
be in the development of the characters ; in the setting ; in the 
illustration of the times, historically, etc. Some reason for each 
there must be ; the novelist has too great a task in the presenta- 
tion of his main purpose to waste time upon incidents, however 
interesting, that have no vital connection with his narrative. 
Moreover, the introduction of even the briefest bit of description 
for its own sake rather than for its relation to the other parts of 
the story would be a defect in artistic unity. 

Thirdly ; there should be careful study of the characters 
introduced in this section. How many? Which seem likely to 
be important? Which attract the reader ? Which repel? Why? 



19 

Here, reasons should be given with great care and fullness but 
without reference to anything contained in the later chapters of 
the novel. The teacher should direct the attention of the pupil 
to any significant relationship between characters, if not other- 
wise brought out, by suggestive, but not leading questions. 
Each pupil may profitably select one character for special study 
throughout the book. He may write a description and discus- 
sion, from the point of view gained by first impressions. If 
this special character study is undertaken, the essential points 
are, first, the inclusion of all information really given by Scott ; 
secondly, the bringing out of all that a fairly intelligent observer 
of human nature should be able to infer ; thirdly, the organiza- 
tion and arrangement of this material in literary and original 
form. This should include some discussion of the effect of one 
character upon another; for instance, in the later chapters of 
Ivanhoe, of the effect of Rebecca's character upon Brian de Bois- 
Gilbert. 

From the first, in the study of Ivanhoe, the teacher must 
prepare the way for a clear definition and illustration of certain 
characteristics of the author. For instance, after the student 
has made an exhaustive list of traits of character, descriptions, 
etc., given in chapters i-vi., he may be asked which are typical 
of the class to which the person belongs and which distinguish 
him as an individual. What parts of the description of Wamba 
could be applied to some other jester of that period? What 
qualities and peculiarities individualize him ? This kind of 
work leads directly, in the end, to the critical appreciation of 
Scott's characteristics as a novelist. 

Fourthly, there remains the question of the historical ele- 
ment in chapters i-vi. This is found in the customs, social 
distinctions, manner of life, of the time, and is brought out 
chiefly through contrast and description in connection with 
incidents essential to the plot. The note-book may be an aid in 
distinguishing the historical elements of the novel. If em- 



ployed, the student must be taught at once to enter the charac- 
teristics merely by the title, with reference to the page whereon 
the illustration was found. 

For instance : — 

Serfdom, (Gurth), p — 
The use of the horn, p — 

The mixed Norman and Saxon dialect in use, p — , etc., 
etc. 

Characteristics peculiar to the Norman period should also 
be distinguished from those belonging to the entire period of 
the middle ages, although here the student must depend upon 
the broader knowledge of the teacher for guidance. Such topics 
as the following will give definiteness to this part of the work : 
How many classes of persons have been introduced in these 
chapters? How did each of these classes regard the Jews? 
Describe a Norman from a Saxon's point of view; a Saxon from 
a Norman's point of view, etc. 

In suggesting chapters i-vi., as the first section in the study 
of Ivanhoe, it is not implied that all the work on them should 
be done in one lesson. They should be assigned and read at 
once, since the various topics for study require an intimate 
knowledge of all. At the close of the study of this section, the 
teacher should ask each student to prepare a statement of the 
things he would care most to learn in the succeeding install- 
ment, were Ivanhoe a serial of which six chapters only had 
appeared. These statements will usually bring out three lead- 
ing points of special interest upon which the further develop- 
ment of the plot depends. 

The second natural division of the novel, Ivanhoe, includes 
chapters vii.-xv., and has for its climax the tournament. The 
treatment of each section should proceed in the same general 
manner that has been indicated for the first ; character study, 
selection of essential plot elements, characteristics of the time, 
are all topics that should be continued. In addition, the essen- 



tial unity of this section as an act in the development of the 
novel should be brought out. The teacher should determine, 
in the beginning, all the important objects Scott had in mind in 
this act, and the means employed in the accomplishment of each ; 
he should then guide the pupil, through definite, concrete study, 
to an appreciation of these points. At the close of the section, 
certain topics designed to bring out the literary and dramatic 
qualities of these chapters should be assigned to all, as : Which 
bit of description do you think the finest? Why? Which inci- 
dent do you think most effective and dramatic? Which do you 
think most important in the development of the story? What 
was Scott's idea of a hero? etc. 

Scott has himself chosen the beginning of the seventh 
chapter as the point for the introduction of some historical 
information. He wrote for English readers in whom he pre- 
supposed considerable familiarity with their own history. If 
English history has been studied by the pupils, previous to the 
study of Ivanhoe, no special work in it need be undertaken here. 
If there has been no such collateral study of history, it must be 
introduced at this point ; it should include a general knowledge 
of the Norman conquest, and of the reigns of the Norman kings, 
and a more detailed study of King Richard's reign, including 
the crusade on which he went, the occasion of Philip's enmity, 
his imprisonment, etc. 

Care should be taken by the teacher, as the study proceeds, 
to avoid the repetition of work already well done, and to include 
the characteristic features of each section, — its relation to the 
others, purpose, climax, and incomplete threads. There will 
also arise in the later chapters many questions which could not 
be discussed until nearly all the material contained in the book 
was well in hand ; as, a comparison of Rebecca and Rowena ; 
the question of what Rowena would have done in Rebecca's 
place, of the number of times that Scott rescues persons by the 
narrowest chance ; the question of whether the second great 



crisis, the trial of Rebecca, is as intense and effective a scene as 
the first. 

Care should always be taken to provide the students with 
unmutilated texts. In some cheap editions now on the market, 
many pages, chiefly of historical material, are omitted, and 
examination proves that essential steps in the development of 
the plot are also missing. 



23 

Topics for Study. 

SECTION I. THE AUTHOR. 

An inquiry in regard to Scott's natural ability and training 
for authorship. 

References, see bibliography, Scott's Life, pp. 1-3. 

I. Scott's childhood : 

a. The family, places of residence, the character and 
occupation of his parents, etc. 

b. Such incidents and facts as reveal influences affect- 
ing, in any degree, Scott's future life or character. 

II. Chronology of Scott's life up to 1792 : 

a. Where did he live ? 

b. How did he spend his time ? 

III. What education or instruction did Scott receive as 
a boy? 

Note. — Make a list of the schools attended by the lad, 
showing the time spent in each, the character of the instruc- 
tion, the special gain or failure of the student. Add the sub- 
jects in which he received private instruction and the studies he 
pursued by himself, for love of the subject. 

IV. What did Scott read in his childhood and youth? 
NOTK- — The student will find an account of his reading in 

the Autobiography. A list of the books with the age at which 
they were read will prove instructive. 

V. What friends were intimately associated with Scott 

in his childhood and youth ? Which of these seem to 

you to have influenced most the formation of his 

character ? 

VI. In what respects did Walter Scott differ from other 

boys? How do you explain these differences? 
VII. Compare Scott's education with that of an American 



24 

boy of the present generation for the same number of 
years, 

a. In time spent in school, 

b. In studies, 

c. In reading. 

Vl!ll. Which of the differences do you consider most im- 
portant? Why? 
IX. What writing had Scott done before 1792, (a;) in school, 
((^) for himself? 
X. What was there in Scott's life, education, or training 
to fit him to write well ? 
XI. What were Scott's criticisms upon his own education ? 
NoTK. — See the Autobiography. 

XII. Why did he choose the bar as his profession rather 
than his father's department of the law? 
XIII. What course of study did he pursue in preparation for 
the bar ? What special mental discipline did he gain 
from it ? 
XIV. When and why did Walter Scott devote himself to 
literature as a profession ? 
XV. What important essays did Scott prepare for The 

Speculative Society ? What did these essays indicate ? 
See the Autobiography. 

XVI. When did Scott begin to write in verse ? How was 
his translation of Lefiore published ? 
XVII. When did Scott publish his first volume? What did 
it contain ? Did it succeed ? 
XVIII. What did Scott publish next ? Did this work succeed ? 



25 
SECTION II. THE AUTHOR. 

XIX. How long did Scott practise at the bar? Did he 

succeed ? 
XX. What offices did Scott hold which brought him an 
income ? What demand upon his time did these 
positions make ? 
XXI. What was the first original long poem published by 
Scott ? 
XXII. What other poems followed ? What income did Scott 
receive from his poetry ? 

XXIII. When did Scott begin to write prose for publication? 
Why? 

See Ivockhart's Ivife, vol. ii., p. 129; vol. iii., p. 136; vol. 
iv., pp. 23-34, 174-84. 

XXIV. How came the author to try historical prose ? Why 
did Scott's friends oppose his writing fiction ? 

Scott's Travels : 

XXV. With what parts of Scotland was Walter Scott per- 
sonally familiar either by residence or by travel ? 

XXVI. Scott's journeys in England : 

a. Route, dates, length of stay. 

b. Special interest in each journey. 

XXVII. Scott's journeys on the continent : 

a. Routes, dates, length of stay. 

b. Purpose and special interest in each journey. 
Note. — Use a note-book and maps, and note the length of 

time spent in residence or travel. Reference to this leaf in the 
note-book will show at once, in case of any novel, whether the 
author was writing of scenes with which he was himself famil- 



26 

iar or whether he depended for information on books or the 
observations of other travellers. 

XXVIII. How was Scott able to describe places that he had 
never seen ? 
Note. — Select from Scott's novels or poetry descriptions of 
places that he knew well and also descriptions of places he had 
never seen ; let pupils compare carefully and note differences. 
In Scott's Life, seek information about the ways in which he 
gained knowledge, in detail, of scenes he had never visited ; 
for instance, the manner in which he wrote the descriptions in 
Quentin Durward is given in chapter Iviii. of vol. vi., Lock- 
hart's Life of Scott. 

XXIX. Scott's habits of literary work : 

a. Preparation ; gathering material, study, etc. 

b. Time spent in composition and revision. 

c. Regularity in work. 

d. Time spent per day ; other occupations carried 
on at the same time. 



27 

IVANHOE. 

SECTION III. INTRODUCTORY. 
The Author's Apology for Ivanhoe. 

What was Scott's purpose in undertaking the novel, 
Ivanhoe ? 

What works of fiction had Scott written before he began 
Ivanhoe? 

Why did he choose the Scottish scenes and history as the 
foundation of his first romances ? 

What were the reasons for substituting English scenes 
and incidents in this novel ? 

Why did he choose the end of the 12th century as the time 
for this story ? 

What conditions did he think it necessary to meet in 
selecting a title? Where did he find the title chosen? 

What books and manuscripts were his chief dependence 
in preparing to write Ivanhoe ? 

8. Did Scott believe that a writer of romance should invent 
his incidents or should borrow them from old stories ? 

9. Which do you think would be the more difficult ? Why ? 

10. What is a romance, according to Scott's definition ? 

11. How did Hawthorne explain the difference betw^een the 
romance and the novel ? See Introduction to The House of 
the Seven Gables. 

12. What was Scott's rule as to the use of antiquated or 
obsolete forms of expression ? In what did he criticize other 
writers ? 

13. How do you define an anachronism in historical fiction ? 

Did Scott intend to introduce anachronisms in his novels ? 

Note. — For these topics, Scott's own introductions to Ivan- 
hoe are the most important sources of information. 



28 

SECTION IV. CHAPTERS I— VI. 

14. "Where, geographically, is the first scene in Ivanhoe 
located ? 

15. When, historically, does the story of Ivanhoe open? 

16. What points did Scott think it necessary to emphasize in 
the mind of the reader before beginning his tale ? Why ? 

17. Why did Scott begin this novel by describing minutely 
two servants ? 

18. What would be the reasons for beginning with one of the 
leading characters ? 

19. Where, in these six chapters, does the plot of Ivanhoe 
begin ? How do you prove this ? 

NoT:E. — The plot is that thread of action which you follow 
with interest and which must come to some conclusion before 
the novel ends. There must be something that is the cause of 
the quarrels, rivalries, difficulties, incidents, which succeed one 
another, and this first cause, wherever you find it, is the real 
beginning of the plot. This beginning may be an incident in 
the first, second, third, chapter; or it may be a quarrel, or a 
hatred, the real cause of which is something that happened be- 
fore the beginning of this story. 

20. How many characters did Scott introduce in chapters 
i. — vi? 

Note. — In a play, a character is introduced to the audience 
when the person walks into view. In a novel, a character is 
introduced when the person really enters and acts or speaks in 
the scene that the reader imagines. 

21. Which of these characters do you think will play leading 
parts in the plot ? Give reasons in the case of each, with 
references to the text in support of your opinion. 

Note. — No reference to chapters of the novel later than 
chapter vi. must be admitted here. Reasons for the opinion 



29 

presented must be found in hints conveyed by the author, in the 
care with which he describes persons, in the way in which they 
are treated, etc. In short, a skillful writer indicates pretty 
clearly his leading characters by his literary presentation at 
their introductioh. 

22. Which character do you most dislike? Why? Which 
do you fear most ? Why ? 

23. Of what do you learn in these chapters that really took 
place before the beginning of the story of Ivanhoe ? 

24. Why was Rowena treated so differently from any other 
person in Cedric's household? 

25. Why did Cedric dislike to hear the name of Ivanhoe? 

26. What were the characteristic features of a Saxon dwelling 
as it is represented in these chapters ? 

27. What marked differences in the dress of Saxons and of 
Normans do you find noted in Scott's descriptions? 

28. What differences were most marked between the habits 
and manners of the Saxons and those of the Normans ? 

29. What do you learn from the conversation of Wamba and 
Gurth about Saxons and Normans? About, the life of a 
jester? A swineherd? About Cedric ? 

30. Which of these two, Gurth or Wamba, had really the 
better mind, do you think ? Prove your opinion from the 
conversation. 

31. Find all the steps in the development of the plot, that is, 
all the points really essential to the advancement of the 
story, in chapters v. and vi. 

32. Which one seems to you of chief importance ? Why? 

33. How many groups of persons were wending their way 
toward the tournament? What was the special object of 
each in going ? 



30 
SECTION V. HISTORICAL. 

34. Show Richard's descent from William the Conqueror. 

35. During how many years had the Normans ruled over 
England ? 

36. Did these kings make their home in England or in 
Normandy ? 

37. How many of these kings had been able to speak Eng- 
lish? 

38. Show on the map what possessions in France belonged 
to England at this time, 

39. Which of the Crusades was this on which Richard had 
gone ? What other great rulers went also on this Crusade ? 

40. What route did the kings and their armies take in going? 

41. Was the Crusade successful in accomplishing the object 
for which it went out? 

42. By what route did Richard attempt to return ? Why ? 

43. Why did the king of France hate Richard? 

44. What other persons in Europe were interested in Rich- 
ard' s disappearance ? Why ? 

45. How long had Richard been absent from England at the 
time of the tournament? 

46. In case of Richard's death, who was next heir to the 
crown ? Who was likely to become king ? 

47. How did Richard come as a prisoner into the hands of 
Henry VI. of Germany? 

48. On what charges was he tried ? At what ransom was he 
held? 

49. How long did Richard remain a prisoner ? When and 
how did he escape ?' When did he land in England? 



31 
SECTION VI. CHAPTERS VII-XV. 
The Tournament. 

50. Where was Ashby ? 

Where did the Palmer leave Isaac ? 

51. Make a map of the tourney grounds, indicating on it 
heralds, lists, tents, etc. 

52. a. What men could become knights? 

b. How were men trained for knighthood ? 

c. How did men become knights ? 

d. The armor and weapons of a knight at the time of 
Ivanhoe ? 

Note. — Consult encyclopaedias and books of reference 
under Chivalry, Also Hallam's Middle Ages, vol. iv., chap. 
ix., part ii. ; The Art of War, by C. Oman, book v., chap. 
ii., A. ; The Crusades, by T. A. Archer, etc. 

53. What orders of knights are introduced in this novel ? 
What differences were there between these orders ? Were 

they friendly ? 

Could each order be recognized by the dress or armor of 
the knights ? If so, how ? 

NoTK. — See Hallam's Middle Ages, vol. iv., chap, ix,, part 
ii., Chivalry. 

54. How many persons known to the reader were wending 
their way toward the tournament ? Show the routes on a 
map of England. 

55. What was necessary in order to enter the tourney ? 
On what conditions was the prize to be won ? 

56. For how many reasons did Scott begin the story of the 
tournament with the incident between Prince John and 
Isaac ? 

57. Do you find any reason for John's dislike of the Disin- 
herited Knight from the first ? 



32 

58. What was it that won the favor of the people at the 
entrance of this knight ? 

59. Why did Rowena refuse to go to the king's banquet? 

60. Why did Rebecca return the money paid her father ? 

61. What was Gurth's route from his master's tent to the 
house of Isaac, and on the return ? Consult a map. 

62. Scott found several reasons in the plan of his story for 
letting Gurth fall into the hands of the outlaws at this 
time; find, without consulting the novel after chapter xv., 
what they may have been. 

63. What do you learn from this incident, about the organ- 
ization of the band of outlaws ? 

64. Did the laws of the tourney on the second day differ 
from those on the first ? Which day was the more impor- 
tant ? Why ? 

65. The two parties on the second day : 

a. Who belonged to each party ? 

b. Why did each take the side he chose ? 

66. At what moment in the story does the reader discover 
the identity of Ivanhoe ? 

67. Had any one beside Gurth suspected who the Disinherited 
Knight was previous to the unlacing of his helmet ? 

68. How long since Rowena had last seen Ivanhoe? 

69. Did Rowena intend by her words to convey to Ivanhoe 
a private message ? 

70. Find all the reasons you can for the author's decision 
that the second important incident of this novel should be 
a tournament ? 

71. What moment of the tournament was most exciting to 
the spectators? 

72. What incident in the tournament do you think most 
important in this story ? Why ? 

73. If this tournament were to be represented on the stage 
what moment would be most dramatic and splendid ? Why ? 



33 

74- How could you distinguish Normaus and Saxons by 
appearance on the stage ? 

75. What new information about events before the beginning 
of the story of Ivanhoe can the reader gain from these 
chapters ? 

76. Why was the incident of the archery introduced ? Has 
it any connection with the plot ? 

77. Find all the plot elements that are included in the inci- 
dent of the banquet. 

78. Was Cedric simple-minded or shrewd in his toast to 
King Richard ? 

79. What points of contrast between Normans and Saxons are 
emphasized in the account of the banquet ? Why ? 

80. Is the message from the French king to John historical? 

81. Why did John dread Richard's return. 

82. Find every reference in the novel thus far, to King 
Richard or his friends ; what hints in regard to his character, 
his friends or enemies, do you gain from these references ? 

83. What classes of persons in England belonged to John's 
party ? 

84. On what men did John chiefly depend? What was the 
object of each in serving John ? 

85. Make a character study of Prince John, referring to some 
incident or description in the novel in proof of each quality 
of body, disposition, or mind, that you attribute to him. 
Discuss his ability, his good qualities, his weaknesses. 

86. How many groups of persons in which the reader is 
interested left the tournament? Whither was each group 
going? For what purpose? 

87. For what purpose was the meeting at York called ? What 
was the position and policy of Fitzurse ? 

88. What arguments for supporting John influenced the 
nobility ? 

Note. — Topic 85 furnishes the teacher an opportunity for 



34 

giving practice in the use of scattered material in making 
character studies. The material should first be collected in the 
note-book, with references to the text in support of points ; 
then, the points should all be re-arranged according to some 
plan so as to form an outline. After this, the outline may 
form the basis of written work ; in case it is thus used, the 
student should be taught how to write an introduction suggest- 
ing either the importance of the character to be described, the 
interest in the prince himself, the significance of his character 
as representing the times, or as that of a historical personage, 
etc. He should also be taught how to use the material gathered 
from the novel in connection with and in support of his own 
conclusions, how to make comparisons, introduce his own 
opinions, and, finally, when the end of the outline has been 
reached, how to write a conclusion that will sum up the sub- 
stance of the essay and will be related consistently to the 
introduction. 

In the course of the study of Ivanhoe, successive character 
studies of this kind should be made. 

89. At the close of chapter xv., what do you care most to 
know? 

90. What do you think Scott's main purpose in the plot, — 
a love story or something else ? 

91. What was Scott's idea of a heroine ? Prove by references 
to the text. At this point, which of the ladies seems the 
real heroine of Ivanhoe ? 

92. What characteristics were essential to Scott's idea of a 
hero? Prove as above. To how many characters in this 
novel has Scott given some of the qualities belonging to a 
hero? 

93. Which character do you think most vividly and really 
presented in chapters i.-xv ? Why ? 

94. a. Which character do you like best ? Why ? 
b. Which one do you dislike most ? Why ? 



35 

c. Whidi character has the finest intellect ? The strongest 
will ? How do you prove this ? 

95. Which characters seem to you most representative of 
life in the 12th century ? Why ? 

96. Which conversation in chapters i.-xv. do you think the 
finest ? Why ? 

97. What description of a place in chapters i.-xv. is finest? 

What tests do you use in comparing descriptions of places ? 

NoTK. — Bach student should select at least three descrip- 
tions of places for comparison, and decide upon the one of these 
that seems to him finest. 

98. What characteristics of life in the 12th century as differ- 
ent from our own have you found thus far? 

NoTK. — This topic should be prepared in the note -book with 
references to the text, and the characteristics should be classi- 
fied ; as, those belonging to dwellings and manner of life, 
amusements, superstitions, etc., etc. 



36 
SECTION VII. CHAPTERS XVI-XXV. 

99. What evidences of the true character and occupation of 
the hermit do you find in chapters xvi., xvii? 

100. Were there really hermits in England in the 12th 
century ? Where ? How did they live ? 

See The Hermits, by Charles Kingsley, Encyclopaedias, 
etc. 
loi. In what respects did the clerk of Copmanhurst imitate 
the life of the true hermit ? 

102. What can you infer of the history and character of the 
Black Knight from these chapters ? 

103. Why did the Black Knight refuse to fight with the clerk? 

104. Why was the clerk so unwilling to trust the Knight ? 

105. What customs belonging especially to mediaeval times 
are illustrated in these two chapters ? 

106. Where did Scott get the story of the clerk and the 
Knight ? 

See Introduction to Ivanhoe. 

107. Why did the author of Ivanhoe like this story and 
especially wish to use it ? 

108. Could this story be left out of the novel without spoiling 
the main plot of Ivanhoe ? 

Note. — The author of a novel has a right, sometimes, to 
introduce interesting incidents which do not really belong to 
the plot for the purpose of exhibiting the characters of the 
story, of illustrating the customs of the times, or for other 
similar reasons. An incident belongs to the plot only in case 
it cannot be left out without changing the course of the 
story. The student will be able to prove easily whether other 
parts of Ivanhoe depend upon this incident, and, if so, to tell 
what they are. 

109. Has Scott used a hermit as a character in any other of 
his works. 



37 

no. What was Cedric's route on the way from Ashby? How 
long a journey had he to go ? 

111. How did women travel in England at this time? How 
was baggage carried ? Where did people usually put up for 
the night? 

112. How many persons and animals, according to your esti- 
mate, were travelling in Cedric's company? 

113. How many times has Fangs been introduced before? 
For what reason, each time? For what special reasons is 
the dog brought in again at this point ? 

114. A character study of Cedric up to this point. See the 
previous note on the writing of character studies, pp. 9, 33, 51. 

11$. a. In what characteristics did Scott intend that Cedric 
should represent the Saxon race ? 

b. What were Cedric's personal peculiarities? 

c. Was Athelstane a true Saxon ? 

116. On what plan had Cedric set his heart? What difficulties 
were in the way of its fulfilment ? 

117. Show in how many ways Scott planned beforehand for 
the events of chapter xix. 

118. How many incidents essential to the story of Ivanhoe 
do you find in chapter xix ? Which one is most important 
of all ? Why ? 

119. What happened that De Bracy had not anticipated or 
planned for ? 

120. Can you prove whether either De Bracy or Bois-Guilbert 
expected to find the Jew and his daughter in the company 
of Cedric ? 

121. The character of Gurth illustrates one of the occupations 
of serfs and also their position in the 12th century ; is it 
essential to the plot, that is, to the progress of the story up 
to the close of chapter xx ? 

122. What orders had Locksley given the different members 
of his company immediately after the tourney ? 



38 

123- How did he happen to be so near Cedric's party at the 
time of the surprise ? 

124. Why did Ivocksley wish the clerk of Copmanhurst to 
live as a hermit ? 

125. Make out the directions or rules for the regulation of 
his life that you suppose Ivocksley gave the clerk, and ex- 
plain the reason for each. 

126. Why did Locksley judge the knight a true Knglishman ? 

127. What do you consider the most important thing in 
chapter xx ? 

128. How many and what incidents in the previous story were 
necessary to bring this important thing to pass ? 

129. How many of the incidents narrated in these chapters 
were going on at the same time ? 

130. How does Scott get the reader from one to the other ? 
Why did Scott introduce the story of the Black Knight and 
the Clerk before telling us what became of Ivanhoe and 
where Cedric's party went? 

131. Make a plan of the castle and defences of Torquilstone 
that will satisfy all the conditions of the description of 
the castle and siege contained in these chapters. 

NoTK. — Consult Encyclopaedias, English Histories, etc. 
Plans will be found under heading. Castles. For location see 
map, especially map of Ivanhoe lyand, references. 

132. lyocate on your plan, each one of the prisoners. 

133. Why did Scott introduce the long story of Torquil 
Wolfganger in this chapter? Could it be left out? 

134. Who did Cedric think had captured his party ? How 
did he expect to get away ? 

135. What characteristics of the Saxon race are illustrated in 
this chapter? 

136. How long after this time were the Jews expelled from 
England ? When were they re-admitted ? 



39 

137- Were the Jews really treated at this time as Scott repre- 
sents in Ivanhoe ? 

Note. — The student can only establish Scott's accuracy by 
bringing references to historians of authority, giving instances, 
etc, 

138. Show why Scott has told what happened to Cedric first, 
to Isaac second, to Rowena third, to Rebecca fourth ; why 
did he not place the scene in Rebecca's chamber after that 
in the dungeon, or use some other order in his narration ? 

139. How does Scott account for Rowena's lack of courage 
and fortitude ? 

140. Would Rowena have consented to De Bracy's plan had 
no interruption from without the castle occurred? What 
reasons would have influenced her to yield? What were the 
reasons in her mind for not yielding ? 

141. In what respects was Rebecca's case more desperate than 
that of Rowena ? 

142. Compare Rebecca and Rowena in respect to : 

a. Treatment in the Castle, 

b. Motives that might impel either girl to yield to her 
fate, 

c. Reasons, in the case of each, for opposing fate, 

d. Resources and means of escape or of modifying the 
threatened danger, 

e. Character. 

143. W^hich do 3'ou most admire? Which would have done 
most for Ivanhoe ? 

144. How many scenes did Scott close with the winding of 
the horn ? Why did he use the horn in this way ? 

145. Would such a combination of circumstances be probable 
in real life ? 

146. In case no rescue from without had appeared, forecast 
the result for each character within the castle? 

147. Which is the better, to lead up to the siege, or rescue, if 



40 

there is to be one, from within the castle, or from without ? 
Discuss the sources of interest, the means of making all 
the details clear to the reader, and the advantages of each 
method ? 

148. Can you explain Scott's reasons for choosing to describe 
this siege from within the castle ? 

149. Compare Front de Boeuf, De Bracy, Brian Bois-Guilbert, 
Waldemar Fitzurse : 

a. What qualities, if any, belonged to all these men ? 
In what qualities did they differ? 

b. Which one of them represents most typically Scott's 
idea of a Norman ? 

150. Can you prove from the challenge which one of the 
persons signing the paper composed it ? Who wrote it out ? 

151. What was the result of the challenge? 

152. Why did those within the castle wish a priest sent in ? 
153- Why did those without wish to send one in ? 

154. What were Scott's reasons for employing this device in 
telling the story of the siege ? 

155. How many points in the development of the plot are 
connected with this device? 

156. To what is the special interest and anxiety of the reader 
during Cedric's progress from his room to the postern due? 

157. What conditions did Front-de-Bceuf propose exacting 
from his prisoners ? 

158. What was the plan of defense? 

159. What was the plan of attack? 

160. Was it possible to take such a castle as Torquilstone 
except by siege? 

Note;. — Refer to the plan of the castle, inquire about the 
usual breadth and depth of moats, the thickness and height of 
walls, the means of assault, etc. See references under Castles. 

161. Why did Scott bring Brother Ambrose into the Castle? 

162. In the conversation between Ivanhoe and Rebecca, 



41 

a. What did Ivanhoe mean by the term ** Chivalry " ? 

b. What was the difference between Ivanhoe's idea of 
bravery and nobility of character and Rebecca's con- 
ception of the same qualities ? 

c. Which view was nearer the modern opinion ? 

163. Trace every step in the series of incidents that brought 
about the imprisonment of Ivanhoe in the Castle of Torquil- 
stone, and made Rebecca his attendant there. 

164. How had Rebecca acquired her knowledge of the healing 
art ? Was there anything mysterious in her skill ? 

Was the time proposed for the healing of Ivanhoe's 
wound reasonable ? 

165. How had Rebecca persuaded Isaac to care for Ivanhoe? 

166. What motives determined De Bracy's treatment of 
Ivanhoe ? 

167. Did Rowena suspect who was carried in the litter of 
Rebecca ? 

168. If Scott had wished to introduce this account of what 
became of Ivanhoe before the story of the capture, at what 
point in the narrative would it have come in best ? 

Why did he give these incidents after the story of the 
capture ? 

169. Why did Scott write note 16 in regard to the device on 
the Black Knight's shield? 

170. If you regard the siege of Torquilstone as a separate 
incident, show, 

a. Where and in what is the beginning? 

b. What steps lead to the climax ? 

c. When and in what is the climax ? 

d. Where is the conclusion ? 

e. How does Scott give unity to this description ? 

171. In what parts of the siege does the author place the 
reader within the castle ? Why ? 

In what parts without the castle ? Why ? 



42 

172. Which parts of this description appeal most vividly to 
the imagination ? 

Which parts appeal most keenly to the sympathy ? 

173. For what reason does this scene excite intense interest? 

174. In closing this incident what unfinished threads of plot 
did Scott leave ? Why ? 

175. This is the second time in the novel that Brian and 
Ivanhoe exchange words of defiance ; what is the result of 
this encounter? 

176. Is the reader more interested in the fate of Rowena or of 
Rebecca? Why? 

177. Are any persons unaccounted for at the close of chapter 
xxxi? 

178. Are there any whose fate is doubtful ? 

179. How many of the characters of the novel enter in 
chapter xxxii ? 

180. How many different incidents find a conclusion in chap- 
ter xxxii? 

181. Make out the rules that you imagine l/ocksley gave to 
his company in regard to spoils and violence? 

182. What was the outlaw's plan in the scenes in chapters 
xxxii. and xxxiii? 

183. What struck the Black Knight most in the scenes he 
witnessed ? 

184. What was lyocksley's real purpose in the management 
of his band ? 

How had he secured the obedience of so many wild and 
lawless men ? 

185. a. Give, in order of importance, the terms of settlement 
decreed by Locksley for each one before the Sylvan Court ? 

b. What was his own share of the spoils? 

c. What do you learn of Ivocksley's past life and conduct 
from this scene? 

186. Which incidents of this scene in the wood suggest to 



43 

you that the future course of the story may depend upon 
them? 

187. Did the Black Knight act wisely in letting De Bracy go? 
What reasons for doing otherwise do you find ? 

188. If you were to represent the sylvan court by tableaux, 
what scenes would you choose? Which would be prettiest ? 
Which would be most interesting ? 

189. If these scenes were to be acted by amateurs, the con- 
versation being given, which scene would be most interest- 
ing and effective ? 

190. Tell whither each group at the sylvan court went when 
all scattered. 



44 
SECTION VIII. CHAPTERS XXXIV-XXXIX. 

191. What characteristics of Prince John are shown in 
chapter xxxiv? 

192. a. What dangers threatened John ? 

b. Wherein lay his strength? 

c. Wherein lay the weakness of his party ? 

d. What was John's real plan ? 

e. Did John fear De Bracy or Fitzurse the more ? Why ? 

193. What three plans were open to De Bracy? 
What were the arguments in his mind for each ? 

194. What was the plan for attacking Richard ? 

195. How many preceptories of the order of the Temple 
existed in England at this date ? Where were they ? 

196. How old was the order of the Temple at this time? By 
whom was it founded ? For what purpose ? 

197. What were the ideals and rules of the order of the 
Templars in the beginning, according to the grand master ? 

198. What was the purpose of I^ucas Beaumanoir's life? 
What motives do you suppose impelled him ? 

In what respects is this character typical ? 

199. Why is he introduced just at this point in the story of 
Ivanhoe ? 

200. How many different persons wished the downfall of 
Brian Bois-Guilbert? 

Show the reason in each case. 

201. Had he friends who really cared for him? How do you 
decide ? 

202. What chain of circumstances has prepared the way for a 
charge of witchcraft against Rebecca ? 

Note. — In answer to this topic, the student should "find 
the earliest evidence in the novel that Scott had this charge in 
mind, and trace the preparation for it up to the trial. 



45 

203. Why was the grand master eager to prosecute Rebecca 
on the charge of witchcraft ? 

204. What was the punishment of witchcraft in the laws 
of Moses? 

205. What was the penalty of witchcraft in England at this 
time ? 

206. How is witchcraft proven ? 

Compare with the testimony in the trials at Salem; 
see American history. 

207. Who brought the charge in this trial? 

Who decided whether the prisoner was guilty ? 

208. What means of defense, in the trial, were furnished 
Rebecca ? 

209. What effect did Scott wish to produce by his description 
of the hall and the trial scene, in chapter xxxvii? Why? 

210. What were the special charges against Rebecca? 

211. Find all the evidence that weighed against her ? 

212. How did Rebecca answer the accusations against her? 

213. What did Scott intend to show the reader by her words ? 

214. What means did Scott employ to increase the sympathy 
of the reader in behalf of Rebecca ? 

215. Why did Rebecca appeal to Brian ? 

216. Upon what did her chance of life depend ? 

217. What was Herman's object in suggesting that Rebecca's 
gage be given to Brian ? 

218. Did Ivucas Beaumanoir believe in witchcraft? 

219. In how many points did Rebecca's letter to her father 
differ from one that Rowena might have written ? 

220. In what respects are Brian and Rebecca placed in con- 
trast in the conversation in chapter xlv ? 

221. What had been Brian's plan for the defense of Rebecca ? 

222. What was his main purpose in this conversation ? 

223. Do you see any change in Brian's regard for Rebecca 
since his first conversation with her ? In what do you find 
proof of your opinion ? 



46 

224- Did Rebecca feel any admiration for Brian ? Any sym- 
pathy ? 
225. The struggle in Brian's mind on the eve of the trial : 

a. The plans open to him. 

d. The motives that impelled him to each. 

c. The motives that withheld him from each. 

d. What means were taken in Templestowe to pre- 
vent the Templar from changing his mind ? 

e. Why were the grand master and Malvoisin so 
anxious to compel him to fight against Rebecca ? 



47 
SECTION IX. CHAPTERS XL-XLIV. 

226. Was Ivanhoe's desire to follow Ricliard superstitious? 
Is it an element of the plot necessary to the progress of the 
story ? How do you prove it a part of the plot or not? 

227. How far back did Scott begin to prepare for the scenes 
in chapter xl ? 

Upon what did Richard's rescue depend? 

228. What was Richard's reason for bidding Fitzurse not to 
mention John's name in connection with his treason ? 

229. What is the most critical moment in this chapter? 

230. There are in chapter xl. at least twelve or fifteen items 
necessary in the plot. Make a list of these and explain, in 
the case of each, why it could not be omitted without chang- 
ing the course of the story. 

NoTK. — Let each pupil in the class prepare this list without 
consultation with others ; in the recitation, see who has the most 
complete list and allow the members of the class to challenge 
any item that does not seem essential to the story ? 

231. What was Richard's plan for regaining his crown? 
What indication of this plan has the reader previously had ? 

232. a. What characteristics of King Richard appear in chapters 
xl. and xli? 

b. What is the relation of these characteristics to the plot? 

c. Is this representation of King Richard historical? 
Bring evidence from other sources than Ivanhoe ? 

233. Give an account of the manner in which funerals were 
celebrated among the Saxons, according to Scott. 

Can you prove whether this representation is accurate and 
complete ? 

234. How did the castle of Coningsburgh differ from that of 
Torquil stone? 

See Scott's note, History of Conisborough Castle, etc. 

235. Find all the reasons, in Scott's mind, for the death and 



48 

reappearance of Athelstane. Why did Scott write note 28 
on this subject ? 
'236. Why is the conversation in which Alan-a-dale figures 
introduced ? 

237. What are the elements of suspense in the scene of the 
combat ? 

238. Why did not Scott choose that Ivanhoe should kill 
Brian, his bitter enemy ? 

239. a. Could the author* have made it possible that Brian 
should live ? 

b. What would have become of him had he lived ? 

c. Would the novel have ended at this point had he lived ? 

240. Give reasons drawn from Scott's narrative for your 
opinion. 



49 
SECTION X. GENERAIv TOPICS. 

241. How many times, in this novel, has Scott saved his plot 
at the last gasp, by improbable means? 

What is the effect upon the reader ? 

242. How many separate stories, each about a group of charac- 
ters, do you find in Ivanhoe? 

243. In case of each of these separate stories, find : 

a. The beginning of the story. 

b. The number of characters belonging to it. 

c. The most important moment of the story. 

d. The conclusion of the story. 

e. The points where the subordinate story fits into and is 
essential to the main story. 

r. Do any of the characters belong in more than one group ? 
If so, does it add to the interest or is it confusing, to find 
the same person in different groups ? Why ? 

The Theme. 

In every story, there should be a purpose, beyond the narra- 
tion of interesting incidents, called a theme, for which it is 
told. In Ivanhoe, three possible themes are to be considered : 

a. A love story, of which Wilfred is the hero and Rowena 
the heroine. 

b. The rivalry and enmity of Ivanhoe and the Templar, 
Brian Bois-Guilbert ; as, long ago. Homer sang the 
wrath of Achilles. 

c. The return of Richard, the King, the overthrow of 
his enemies, and his re-establishment on the throne of 
England. 

244. Questions : 

I. If a is the true theme, where is the beginning of 
the story ? The most important moment, or turn- 
ing point ? The end of the story ? 



50 

2. li d is the true subject of the story, what incident 
forms the beginning ? When is the most important 
moment ? What incident is the end of the story ? 
' 3. Ji c is the theme of Ivanhoe, where do you find 
the beginning ? The most important moment ? 
The end? 

245. Which do you think the true theme of Ivanhoe? 

Note. — If there is difference of opinion on this topic, let 
students choose which theme each will defend and argue the 
case, bringing proofs from the story. There are reasons worth 
finding in support of each theme, though Scott must have 
chosen one and kept it definitely in mind. 

246. At how many points does the plot of Ivanhoe depend 
upon accident or on chance occurrences ? 

247. How many times does the plot of Ivanhoe depend upon 
the character of some person ? 

248. How many times, in Ivanhoe, did the author lead up to 
a moment of intense interest and then change the scene ? 
Why did he do this ? 

249. How many times did he gather almost all the characters 
of the novel into one spot and then scatter them ? 

250. a. Why did he like this plan ? 

d. Do you know any other story in which this has 
been done? 

251. What effect did Scott care most for in the scenes of the 
novel ? 

Select two scenes that you think finest and show, in 
each, how he produces this effect ? 

252. Which do you think the most dramatic scene in the 
novel ? Why ? 

253. Which do you think the most pathetic scene? Why? 

254. Which scene do you think the hardest to describe well ? 
Why? . 



51 

255- See Rebecca and Rowena, by W. M. Thackeray. 

From this continuation of Ivanhoe the reader may 
infer Mr. Thackeray's criticism of the romance. 
What were his criticisms upon, 

a. The plot, 

b. The characters, 

c. The adventures. 

The Presentation and Criticism of Character Studies : 

256. Some of the points that should be included in the pre- 
sentation are : 

a. The character as an individual. 

b. The importance of the character in the novel. 

c. The relation of the character to other characters in 
the novel. 

d. The question whether the character is a true repre- 
sentation of human nature, and of acts and motives and 
principles common in the 12th century. 

e. The skill of the author in representing the character ; 
was the task difl&cult? Is the character best in action? 
in conversation ? etc. 

257. What is Scott's plan of presenting characters to the 
reader ? 

Note. — Some writers describe the person of a character 
fully on the first introduction and explain the qualities of mind 
and heart; then, afterwards, they strive to make the character 
act in accordance with this introduction. Other writers intro- 
duce a new character by describing much the same things that 
would be noticed at a first meeting with a stranger, and each 
time that this person appears afterwards, the writer adds some 
new feature, or explains some characteristic so that the reader 
gradually becomes familiar with him and understands his 
character in the manner in which he makes a new acquaintance 
in real life. A few writers do not follow either plan consistently 



52 

but seem to depend upon showing the reader continually how 
a variety of other persons regard the character, so that from 
their opinion, corrected by the reader's understanding of the 
words and acts of the person himself, a full conception of the 
personality is finally reached. A novelist may employ one of 
these methods, or mingle them, or lack skill in the presenta- 
tion of character. Topic 355 should be answered by taking one 
character in Ivanhoe, trying to determine which method was 
Scott's and then proving the conclusion by illustrations. 

In the note-book topics, each pupil was advised to choose, 
early in the study of Ivanhoe, one character for special study. 
He should, at the close, have collected material for a special 
character study. Suggestions for the arrangement, and presen- 
tation of this material have been given on pp. 9, 33. 

258. In which of the elements involved in character study is 
Scott strongest? In which weakest? 

259. Which character in Ivanhoe interests the reader most 
deeply? Why? 

Did Scott intend that this should be so ? 

260. How many characters are there in the novel Ivanhoe ? 
See note -book topic ix. 

Can you give the number of characters in any other novel 
for comparison ? 

261. How long a time elapsed between the beginning of the 
story of Ivanhoe and its conclusion, according to the chron- 
ology of the novel ? 

See note-book topic viii. 

262. Upon what, chiefly, does the interest depend in the 
novel, Ivanhoe? 

a. Upon the plot? 

b. Upon the characters ? 

c. Upon the setting ? 

263. In a second reading of Ivanhoe, what will interest readers 
most ? 



53 

264. Characteristics of the 12th Century : 

Note;. — The material for' the discussion of this topic should 
be found in the note-books, or marked in the text. In a large 
class, it will be convenient to let each pupil take one charac- 
teristic of the century from his list, collect illustrations of it 
throughout the novel, and compare Scott's representation with 
information obtained from other sources. For instance, the life, 
occupations, and treatment of serfs; the differences between 
Saxons and Normans ; medicine and the care of the sick ; super- 
stitions; the treatment of the Jews, etc., etc. 

265. Characteristics of Scott as a novelist: 

NoTK. — Even young students, with careful guidance may 
do a little real critical work here. Each should be able, by the 
time the study of the novel is completed, to notice for himself 
one or more devices, or characteristics peculiar to this author in 
the telling of stories, and to find illustrations in the text. For 
instance, Scott's love of fine horsemanship ; or, his habit of 
bringing characters into dreadful peril and then of providing 
rescue. 

Skillful teaching will be manifest in leading the student to 
make distinctions up to the full level of his development and 
ability, and also in the avoidance of those characteristics of the 
novelist an appreciation of which must be reached by aesthetic 
analysis or psychological distinctions requiring maturity and 
training beyond that of the high school pupil. 



54 
APPENDIX. 
A suggestion of topics for cofnpositions in connection with 
the study of the sixth section, chapters vii.-xv., of Ivanhoe. 
I. Let Wamba tell the story of Rowena's preparation for 
the tournament, and of her journey. 
II. Imagine yourself in Reuben's place, listening behind a 
curtain when Isaac enters the room where he finds 
Rebecca on his return from the journey with the 
palmer, and tells her all that has happened. Be 
especially careful in describing the persons that Isaac 
had met as they would have appeared to him. Repre- 
sent Rebecca as asking questions and Isaac as express- 
ing his own opinions freely. 

III. Tell how Ivanhoe presented his letter to Kirjath Jairam, 

in Leicester, and how he chose a horse. Tell also 
where and how Gurth found him, and give the first 
conversation between them. Did Gurth know how to 
care for a Knight's horse and armor, do you suppose.? 

IV. Write a letter from Rebecca to a kinswoman in Spain, 

describing the tournament and her own feelings as 
it went on. 

a. On the first day, 

b. On the second day. 

V. Write another letter, later, as above, describing the 
return of the money, the rescue of Ivanhoe, and what 
happened on the following day. 
VI. Write an account of the contest in archery by means of 
a conversation among a group of yeomen, on the 
following evening, Hubert being the chief speaker. 
VII. Let the Lady Alicia give an account of the choosing of 
the queen of love and beauty and describe her rivals 
to the ladies at court, after all was over. Show 
whether she admires Prince John and flirts with him 
or dislikes him and secretly favors some one else. 



55 

VIII. Describe Locksley's home and life before he became an 
outlaw. 
IX. Describe the incident that made lyocksley an outlaw. 
Note. — Compare the story of Robin Hood, in The Foresters, 
by Tennyson. 

X. Tell of some brother, cousin, or comrade for whom 
Locksley cared who did not become an outlaw. Did 
Ivocksley visit this comrade ? How did he communi- 
cate with him ? What did the comrade do for him ? 
XI. Make a set of rules such as you suppose that Locksley 
gave to his band. 
XII. Tell the story of Locksley's first acquaintance with the 

Clerk of Copmanhurst. 
XIII. Describe a meeting of the outlaws and a feast a few days 
before the tournament. 



L-flfC 



56 
CRITICISM. 

A few references to essays and critical reviews on Ivanhoe, 
or on the style and characteristics of Walter Scott. 

Essays on Fiction, by N. W. Senior, pp. 38-53. 

Introduction, to Ivanhoe in Border edition, by A. Lang. 

The editor summarizes several of the most important criti- 
cisms of Ivanhoe and discusses at length the adverse criticism of 
Freeman upon the historical accuracy of Ivanhoe. 

Contributions to the Edinburgh Review, by F. Jeffrey, vol. 
iii., part v.. Novels, Tales, and Prose works. 

English I^iterature, by H. A. Taine, book iv., in chap. i. 

Fiction Fair and Foul, by John Ruskin, Nineteenth Century, 
vol. 7, p. 941. 

Walter Scott — Has History gained by his writings .'' Fraser's 
Magazine, vol. 36. 

Eclectic Review, vol. 31, p. 526; an adverse criticism on 
Scott's success in the English field. Finest scenes are quoted. 

London Magazine, vol. i., p. 11; on the authorship of the 
Scotch novels. 

Blackwood's Magazine, vol. v., p. 262, year 1819 ; vol. viii., 
p. 355; vol. xxii., p. 541- 

Rebecca and Rowena, A Romance on Romance, by W. M. 
Thackeray, in Christmas Books. 

British Novelists and their Style, by D. Masson. 

THE END. 



THE STUDY-GUIDE SERIES 

For the Critical Study of Literature. 

Each study contains the bibliography essential to a knowledge 
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The Study of Romola. 

Arranged in fifteen sections especially for study clubs and classes. 
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Arranged in the same manner as the study of Romola, with 
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his novels. 



The Story of Ivanhoe. 



Arranged primarily for students of secondary schools. Includes 
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